FUTURE BODIES FROM A RECENT PAST
CHIP BLOOD ELECTRODE FACE CODE JAW IRON CROTCH ALGORITHM EAR LED CELL
WIRE SKIN CERAMIC SHOULDER LACQUER VEINS METAL PROSTHESIS ALUMINUM TESTICLE NEON PSYCHE
RUBBER IMPLANT EPOXY SPINE FILE NIPPLE BATTERY LEG
PIXEL ANKLE FILM HEART LED SHOULDER WAX PORE
PVC MIND LED FOOT PLASTER BOWELS SILICONE CAPILLARY POLYESTER PROSTHESIS ACRYLIC FINGER FABRIC TORSO LATEX EYE FILE TOE SILK NOSE
SCREEN ESTROGEN TRANSMITTER ENDORPHIN FIBERGLASS NEURON SERVER HEART VIDEO MEMORY DATA VAGINA MOTOR TONGUE TELEVISION ADRENALINE RECEIVER NECK RESIN TUMOR
STEEL SENSES ANTENNA SEROTONIN ELECTRICITY TESTOSTERONE POLYESTER PELVIS ENAMEL SPIRIT CHAIN MUSCLE
LED BONE CHIP JOINT FOIL VAGINA CONCRETE THIGH PIXEL BRAIN FILE FLESH
FUTURE BODIES FROM A RECENT PAST
Sculpture, Technology, and the Body since the 1950s
Participating Artists Directors’ Preface Curators’ Introduction
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FIGURATION AFTER WORLD WAR II 22 THE BODY ELECTRIFIED 32 Sculpture, Technology, Bodies since the 1950s: An Exploration in Three Parts Patrizia Dander New, Newer, Newest: The Afterlives of the Laocoön, or, Some Possibilities for Postwar Sculpture Alex Kitnick
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UNRULY BODIES 64 IN PIECES 82 Hybrid Figurations: Sculptural Narratives on the State of Bodies Franziska Linhardt
TECHNOLOGY AND DESIRE 124
The Lawless Vitality of Sculpture, ca. 1960–1980: Formalism’s Monsters, Cybernetic Breakdowns, and the Joys of Deviation Jenny Nachtigall
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113
PROTO/CYBORGS 138 MEDICAL REGIMES AND EXPANDED PROSTHESES 158
Machines and the Ethics of Miscegenation Louis Chude-Sokei
187
Sculpture in an Age of Mass Reproduction Megan R. Luke
195
List of Artworks Authors’ Biographies Photo Credits
228 234 236
NETWORKED SELF 204
PARTICIPATING ARTISTS
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HEART
GENPEI AKASEGAWA
MELVIN EDWARDS
SHIGEKO KUBOTA
SETH PRICE
PAWEŁ ALTHAMER
BRUNO GIRONCOLI
TETSUMI KUDO
CAROL RAMA
NAIRY BAGHRAMIAN
ROBERT GOBER
YAYOI KUSAMA
GERMAINE RICHIER
JOACHIM BANDAU
FELIX GONZALEZ-TORRES
NICOLA L.
NIKI DE SAINT PHALLE
MATTHEW BARNEY
NANCY GROSSMAN
MARK LECKEY
HANS SALENTIN
ALEXANDRA BIRCKEN
LYNN HERSHMAN LEESON
SARAH LUCAS
ASHLEY HANS SCHEIRL
LEE BONTECOU
EVA HESSE
BRUCE NAUMAN
DAVID SMITH
LOUISE BOURGEOIS
JUDITH HOPF
SENGA NENGUDI
ALINA SZAPOCZNIKOW
ROBERT BREER
REBECCA HORN
KIYOJI oTSUJI
TAKIS
JOHN CHAMBERLAIN
TISHAN HSU
TONY OURSLER
ATSUKO TANAKA
BARBARA CHASE-RIBOUD
EDWARD IHNATOWICZ
NAM JUNE PAIK
PAUL THEK
SHU LEA CHEANG
ARTHUR JAFA
EDUARDO PAOLOZZI
JEAN TINGUELY
JESSE DARLING
MOTOHARU JoNOUCHI
FRIEDERIKE PEZOLD
HANNSJÖRG VOTH
STEPHANIE DINKINS
KAYA
JULIA PHILLIPS
FRANZ WEST
ALEKSANDRA DOMANOVIC
KIKI KOGELNIK
WALTER PICHLER
FILE
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DIRECTORS’ PREFACE
BERNHARD MAAZ & ACHIM HOCHDÖRFER
Hardly any other change in recent decades has left such a deep mark on our lives as digitalization. The introduction and spread of the Internet in the 1990s and subsequent innovations in information technologies such as the smartphone or ‘social’ platforms have altered our lives, our daily routines, and even our values in a fundamental, permanent, and irreversible fashion. Especially during this pandemic that has already lasted for more than two years, we have all experienced firsthand— both psychologically and socially—just how profoundly digital technologies permeate our everyday lives and what possibilities, but also dependencies and occasionally even chasms arise, or at least can arise, from these interactions. In the visual arts, these entanglements have been debated intensely since the 2010s. Numerous seminal exhibitions in Germany and abroad have been devoted to the question of how bodies are currently reconfiguring themselves between the poles of technology and their materialities. Contemporary artists do not understand human bodies as static and selfcontained entities, but as unstable and shifting systems that are fundamentally shaped by their (technological) environment. What was still considered utopian in the 1980s, when Donna Haraway wrote her now legendary essay “A Manifesto for Cyborgs,” is evident and present today: the boundaries and dualisms between humans and technology, between subject and object, material and immaterial have 16
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become obsolete. It is striking that, despite or precisely because of these developments, the highly material practice of sculpture is once again coming to the fore. The exhibition Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s explores this alleged paradox. For the first time, an exhibition systematically presents the complex relationships between new technologies, their effects on our conceptions of bodies, and their expression in the genre of sculpture. The focus is not solely on the impact of the digital, but instead broadens the scope to the pathbreaking technological developments that occurred at a tearing speed in the Western industrialized nations after World War II. In a social climate of recovery and a flourishing consumer culture, technology satisfied both the need for novelty and speed and for overcoming the traumas of the war years. But such changes—and this is demonstrated impressively in the exhibition—were often viewed with mixed feelings. Since industrialization, technological progress has been associated with promises of modernization and freedom, while at the same time being cited as the cause of humans’ alienation from their ‘nature.’ This is particularly true for the transition from the so-called mechanical to the information age, which manifested itself on a broad social scale in the 1950s. At the time still accompanied by concerns about the ‘dehumanizing’ consequences of technology, today the
networking of humans with technological devices, but also technical ‘enhancements’ of physical and cognitive functions, have long since become reality. These developments reveal dramatic redefinitions of our understanding of what makes us human, while at the same time they are being discussed as apocalyptic visions of our ultimate loss of meaning. Future Bodies from a Recent Past makes this tension tangible with outstanding works of art since the early 1950s. With its thematic focus, the exhibition equally addresses social as well as art historical issues, thus opening up the view of sculpture as an artistic practice of unabated relevance. As a museum for contemporary art, it is our task to observe, process, and frame such artistic developments in a historical perspective. We are delighted that Future Bodies from a Recent Past succeeds in this in such an outstanding way. We sincerely thank Patrizia Dander, chief curator at Museum Brandhorst, and Franziska Linhardt, research associate, who have advanced this ambitious and complex project over the past three years with as much enthusiasm and passion for the content as professionalism in its implementation. The high academic standards of this exhibition and research project have already manifested themselves in an internationally received symposium at the beginning of 2021 and are now reflected in the same way in this publication. We are honored to have Louis Chude-Sokei, Alex Kitnick, Megan R. Luke, and Jenny Nachtigall, renowned and independent academics, contribute to the exhibition catalog. With their essays, they broaden the view beyond the topics outlined above by addressing the drastic changes in sculpture since the 1950s, the significance of its materiality, the status of the medium in the age of its reproducibility, and not least the relationship between race and technology. We thank them for sharing their knowledge, based on years of research, with us and the readers of this book. The elegant and precise design was in Marwan Kaabour’s hands. It not only matches the complexity of the project but expands it in a substantial way. We are also pleased to have found in Deutscher Kunstverlag / De Gruyter a publishing partner that does equal justice to the scholarly ambition and conceptual breadth of this exhibition and research project. Fiona Elliott and Carolyn Kelly have translated the writings into German with great linguistic sensitivity. Keonaona Peterson was responsible for the meticulous editing. Their work was crucial to the quality of this publication. Susanne Huber, research associate for publications and collection at Museum Brandhorst, held the threads of this elaborate undertaking together with impressive clarity and competence. Without her precise and structured way of working, but above all without her essential contribution to all aspects of its conception and realization, this book would have been unthinkable. For this we thank her most sincerely. Like all exhibitions, Future Bodies from a Recent Past is shaped by the artworks it presents. The realization of the exhibition’s concept was possible only with innumerable loans from private and institutional collections. We are deeply grateful to the lenders, whose generosity cannot be taken for granted, especially in view of the fragility and historical significance of many of the artworks: Miguel Abreu Gallery, All Art Initiatives, amanaTIGP, Astrup Fearnley Collection, Nairy Baghramian, Joachim Bandau, BFI National Archive, Galerie Isabella Bortolozzi, Herbert Brandl, Centre Pompidou, Chapter NY, Shu Lea Cheang, D.Daskalopoulos Collection, Stephanie Dinkins, Aleksandra Domanović, Electronic Arts Intermix (EAI), VIDEO
Paul van Esch & Partners, Konrad Fischer Galerie, Collection Frac Franche-Comté, Stephen Friedman Gallery, Geddert Hronjec Collection, Xavier Gellier Collection, Generali Foundation Collection at the Museum der Moderne Salzburg, Glenstone Museum, Sammlung Goetz, Marian Goodman Gallery, Grässlin Collection, Ursula Hauser Collection, Hauser & Wirth, Emanuel Hoffmann Foundation, Richard Ihnatowicz, Mineko Jōnouchi, Kiki Kogelnik Foundation, Shigeko Kubota Video Art Foundation, Hiroko Kudo and The Estate of Tetsumi Kudo, Kunstmuseum Den Haag, Tanya Leighton, Loevenbruck, Matthew Marks Gallery, Museum Ludwig, MUSEUM MMK FÜR MODERNE KUNST, Museum Voorlinden, Museum Wiesbaden, National Museum in Warsaw, The National Museum of Modern Art, Tokyo, Neues Museum Nürnberg, Niki Charitable Art Foundation, Michael Rosenfeld Gallery, Deborah Schamoni, sixpackfilm, Staatliche Graphische Sammlung München, Lenbachhaus Munich, The Estate of Alina Szapocznikow and Piotr Stanisławski, Tate, Galerie Elisabeth & Klaus Thoman, and all the lenders who prefer to remain anonymous. A more than valuable fundament was provided by selected key works of contemporary art from the Udo and Anette Brandhorst Collection. Our thanks go to Udo Brandhorst, who supports the ambitions of our museum work with significant acquisitions. The centerpiece of the exhibition and one of the largest acquisitions of recent years, Mark Leckey’s roomfilling installation UniAddDumThs, is being shown at Museum Brandhorst for the first time. The exhibition brings together around 120 works by 59 artists, a unique challenge for Museum Brandhorst both in logistical and financial terms. Our heartfelt thanks therefore go in particular to the loyal and extraordinarily generous support of PIN. Freunde der Pinakothek der Moderne e.V. and Jan Fischer, without whom this ambitious project would not have been possible. We are also very pleased to have found a supporter and project partner in the ERES Foundation, who is as generous as it is committed to the content of the project. For this we would like to express our personal gratitude to Sabine Adler, chairwoman of the board and managing director. The art education program accompanying the exhibition Future Bodies from a Recent Past is developed as part of “dive in. Programme for Digital Interactions” of the Kulturstiftung des Bundes (German Federal Cultural Foundation) with funding by the Federal Government Commissioner for Culture and the Media (BKM) through the NEUSTART KULTUR program. We are grateful that this grant offers us the possibility to mediate the contents of the exhibition in a wide range of analog, digital, and hybrid formats over the course of this year. The team at Museum Brandhorst has realized this complex undertaking in its usual outstanding manner. We consider ourselves extremely fortunate to be able to rely on its expertise and commitment at all times. We would like to thank our museum and exhibition technicians Norbert Schölzel, Adrian Keleti, and Stephen Crane, under the direction of Wolfgang Wastian, for their impressive work. They were supported by Katharina Berger, Eva Burkhardt, Kazan Fischer, Sophie Kindermann, Andreas Klare, Cordula Schieri, Anne Seiler, and René Stiegler. With its technically complex installations, the exhibition has placed numerous and new demands on their work. This is equally true for our registrar, Maria Espinosa, who was responsible for coordinating all the transport and couriers. Her professional and foresighted work was invaluable in organizing and carrying out such a multifaceted project. The conservator Bianca Albrecht was in charge of caring 17
for the often extremely fragile exhibition works. We warmly acknowledge her precise, prudent, and solution-oriented work as much as we thank her colleagues Isabel Gebhardt, coordinating head of conservation at Museum Brandhorst, and Michaela Tischer, conservator, who were on hand with help and advice at all times. The conservators Natalie Kurz and Iris Masson gave additional support during the installation. We are also obliged to Andreas Weisser, media conservator, who supervised the numerous moving images works. Anna Woll and Janina Vujic, together with the graphic designers from parat.cc and the website agency 4th motion, launched the enticing exhibition campaign and the project website, and kept an eye on all aspects of analog and digital communication with both foresight and enthusiasm. For this they deserve our deepest gratitude. We would like to thank the Events Department, headed by Barbara Siebert, and in particular Katarina Jelic, for organizing the public programs accompanying the exhibition with the utmost reliability and care, as always. In the art education department, we would like to extend our thanks to Funda Karaca and Jochen Meister for their most professional and dedicated work. Also in this project, we are lucky to have the Museumspädagogisches Zentrum München (MPZ) and our pi.lots as loyal partners at our side. With the digital Factory, Museum Brandhorst was able to establish a new platform for art education in 2021. We warmly thank Kirsten Storz for the conception of the Factory, which she implemented jointly with Janina Horn and Andrea Zabric, and for the development of its formats and programs for the exhibition, together with Ulrich Ball, Daniel Lang, and Beat Rossmy. Our sincere thanks also go to the local administration of the Bavarian State Painting Collections as well as its central services for the administrative and legal support of the exhibition. We are most grateful to the curatorial team of Museum Brandhorst, Monika Bayer-Wermuth and Giampaolo Bianconi, as well as Susanne Huber and the curators of the exhibition for the exchange and discussions. Mara Jirdén, as team assistant, provided valuable support for the exhibition and catalog at various points, as did interns Zakirah Rabaney, Lena Tilk, and Marisa Zeising, as well as our guest researcher Helena Held. They were supported by Pia Bendfeld. Our last and most profound gratitude goes to the many artists of the exhibition. Their works and approaches, challenging in the very best sense, made Future Bodies from a Recent Past possible in the first place. Their practices enrich our thinking and actions and are a constant motor for us in the attempt to better understand the present in its complex and contradictory formations. Bernhard Maaz Director General Bavarian State Painting Collections Achim Hochdörfer Director Museum Brandhorst
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VEINS
IRON
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CURATORS’ INTRODUCTION
PATRIZIA DANDER & FRANZISKA LINHARDT
In a way we could never have imagined, the past two years have proven just how indissolubly our lives are bound up with new technologies. For the first time, these new digital realities and materialities became fully tangible in broad social contexts. Physical interactions were replaced by encounters on screen. The absence of what used to be familiar can still be felt keenly today. The closures of places of public life, from restaurants and cinemas to libraries and museums; the restrictions on private gatherings; the complete disruption of teaching both in schools and universities as well as the changes in our work environment: they have all left deep marks, the psychological and social consequences of which are still barely foreseeable. To start with the intensive research for an exhibition like Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s at precisely this time felt as appropriate as it was disconcerting. After all, mediating corporeality and materiality across digital interfaces presents a particular challenge when contemplating the medium of sculpture with its productive refusal of physical flattening. All the more exciting now is the moment when the exhibition, and thus the physical presence of the artworks in the gallery spaces of Museum Brandhorst, finally becomes tangible. The first ideas for Future Bodies from a Recent Past date back several years and resulted from observing the developments in contemporary art that were happening at 20
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the time. ‘Post-digital’ practices referred to the transformative potential and ubiquity of the technologies surrounding us. With new materials and techniques such as 3D printing or early experiments with chatbot functions, we were confronted with art that seemed one step ahead of our own lived reality. Hybrid techno-bodies populated exhibitions: supposedly immaterial processes such as digital image circulation became the basis for sculptural objects; technological relationships materialized in ‘networked’ artworks. They made us think once again about the contexts within which the visual arts, but also artists, are integrated and where these transitions begin and end. Yet there was little sign of overcoming the physical in virtual spheres. The digital euphoria of the 1990s, when merging into ‘cyberspace’ (at least among technophile communities) was propagated as an almost imperative perspective for the future, seemed to have given way to the realization that the digital (co)produces a highly physical reality. Therefore it is hardly surprising that sculpture, perhaps the most tangible of all art genres, was conspicuously present in precisely this contemporary art context. In fact, sculpture seemed to confirm once more that, thanks to its elemental constitution, it is especially predisposed to pick up on and reflect the changes in our living environment. For it shares its substance matrix— its materials and production methods—with the world that
surrounds us, and in doing so presents itself as an essentially permeable medium. The preoccupation with the interdependency of bodies and technologies is not, however, a phenomenon of the present. It can be traced back in a memorable way to many sculptural works of earlier decades, and mostly in episodes of major technological development. It was therefore all the more surprising to find that ‘post-digital’ sculptures and installations have hardly been considered in art historical contexts. Future Bodies from a Recent Past fills this gap. Starting from the current question of the influence of new technological configurations on sculpture, we look back at 70 years of (art) history and the changes sculpture has undergone. The works, grouped in thematic chapters, form a polyphonic historical framework for the art of the recent past. This exhibition is in many respects an extraordinary undertaking. Such an ambitious research and exhibition project can only be realized through intense interaction and with the support of many. The centerpiece of our research and the scholarly starting point of the exhibition was the symposium of the same name, which took place in digital form in January 2021. We are deeply indebted to the participants who enriched us with highly informative contributions based on their most current research. They were also of invaluable inspiration to us as conversation partners in the run-up to and after the symposium. Our sincere thanks go to Manuela Ammer, Marie-Luise Angerer, Jo Applin, Josef Barla, Louis Chude-Sokei, Marta Dziewańska, N. Katherine Hayles, Alex Kitnick, Antje Krause-Wahl, Namiko Kunimoto, Megan R. Luke, Maria Muhle, Ursula Ströbele, Jeannine Tang, and Anne M. Wagner. The lectures continue to live on in the digital space, where they enjoy a wide audience that extends well beyond the museum’s physical boundaries. We are particularly fortunate to have been able to deepen our exchange with Alex Kitnick, Megan R. Luke, and Louis Chude-Sokei as part of our publication. We thank them, as well as Jenny Nachtigall, for their outstanding contributions to the catalog, which broadened the focus of the exhibition. Like no exhibition at Museum Brandhorst before, Future Bodies from a Recent Past thrives on a dense academic network, of which we are very proud. We would like to thank our cooperation partners, namely Ursula Ströbele from the Zentralinstitut für Kunstgeschichte in Munich; Christiane Voss, Maria Muhle, and Christiane Lewe from the Media Anthropology graduate program at the Bauhaus-Universität Weimar; Antje Krause-Wahl from the Goethe-Universität Frankfurt am Main; and Jenny Nachtigall, who also taught there at the time, for their productive collaboration during study days, workshops, seminars, and symposia. This has been our constant motor and has continuously propelled our research. Exchanging ideas with colleagues from institutional and academic contexts has helped us to progress both in difficult questions of detail and at decisive points in the conception of the exhibition. In addition to those already mentioned, our sincere thanks go to Akiko Bernhöft, Sina Brückner-Amin, Layla Burger-Lichtenstein, Gürsoy Doğtaş, Elena Filipovic, Anna Gritz, Gō Hirasawa, Eva Huttenlauch, Radmila Iva Janković, Pablo Larios, Andrea Lissoni, Andrew Maerkle, Susanne Mierzwiak, Matthias Mühling, Leonie Radine, Kasia Redzisz, Kerstin Renerig, Benedikt Seerieder, Elena Setzer, Bettina Steinbrügge, Toby Treves, Ralph Ubl, Stephanie Weber, and Nicole Wermers. They generously shared their knowledge with us at all times. PAINT
This also holds true in a special way for our closest colleagues in the curatorial department of Museum Brandhorst, Achim Hochdörfer, our director, as well as Monika BayerWermuth, Giampaolo Bianconi, and Susanne Huber. To her we also owe this wonderful catalog, which she executed in close collaboration with the graphic designer Marwan Kaabour. We feel blessed in this regard. A big thank-you also goes to our interns Zakirah Rabaney, Lena Tilk, and Marisa Zeising as well as our guest researcher Helena Held, who supported us at different stages of the exhibition preparation with great commitment and impressive knowledge. Working with them was truly rewarding. There are not many museums that dare to take on the challenges and risks that such lengthy and complex projects entail. We thank Achim Hochdörfer for his trust and unconditional support of the exhibition from the earliest stages of its conception. We are honored that a project such as Future Bodies from a Recent Past is understood as a central pillar of the program of Museum Brandhorst and is supported by our magnificent team in all aspects of its realization. We would also like to thank our registrar, our museum and exhibition technicians and conservation team, as well as the event and communication departments and the art education department for their tireless and dedicated work, without which the exhibition could never unfold its full complexity and impact. We join the directors in expressing our sincere gratitude to the lenders. An exhibition of this kind is only possible due to the trust of all the institutional and private lenders who make their outstanding artworks available to us. We profoundly acknowledge their extensive and generous support and greatly appreciate that they have parted with their valuable works for the long presentation period. The fact that the Udo and Anette Brandhorst Collection—especially with its new acquisitions of recent years—provided a central starting point for this project was of inestimable help. Any exhibition can only be as good as the art it displays. We would like to thank all the artists whose works we have the privilege to show in Future Bodies from a Recent Past for the almost inexhaustible inspiration they provided. Their work has been our greatest motivation at all times, and we hope above all that we have managed to meet their expectations of our exhibition.
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FIGURATION AFTER WORLD WAR II
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MOUTH
OPPOSITE
ABOVE
Alina Szapocznikow Pnąca, 1959 Terrazzo (limestone, quartz, cement), steel 148 × 133 × 111 cm
Germaine Richier Le Griffu, 1952 Bronze 86 × 82 × 80 cm RECEIVER
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BELOW
OPPOSITE
David Smith Untitled, 1953 Steel 216 × 80 × 51 cm
Eduardo Paolozzi Cyclops, 1957 Bronze 111.1 × 30.5 × 20.3 cm
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GENITALS
PAGES 28–31
Eduardo Paolozzi Bunk!, 1972 (signed 1987) A box-file containing 45 images from Eduardo Paolozzi’s files OVERLEAF LEFT
Eduardo Paolozzi Evadne in Green Dimension, 1972 Silkscreen and collage 29.9 × 21.3 cm OVERLEAF RIGHT
Eduardo Paolozzi A New Brand of Brilliance, 1972 Lithography 40.1 × 28.5 cm
PAPER
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HEART
CONCRETE
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This book is published on the occasion of the exhibition Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s Curators: Patrizia Dander with Franziska Linhardt Museum Brandhorst, Munich June 2, 2022–January 15, 2023
Museum Brandhorst Bayerische Staatsgemäldesammlungen Türkenstraße 19 80333 Munich Germany www.museum-brandhorst.de Director: Achim Hochdörfer Chief Curator: Patrizia Dander Curators: Monika Bayer-Wermuth, Giampaolo Bianconi Research Associate Publications and Collection: Susanne Huber (until March 2022) Research Associate Future Bodies: Franziska Linhardt Team Assistant: Mara Jirdén Interns Future Bodies: Zakirah Rabaney, Lena Tilk, Marisa Zeising Guest Researcher Future Bodies: Helena Held Press and Communication: Anna Woll, Janina Vujic Conservation (Doerner Institut): Isabel Gebhardt, Bianca Albrecht, Michaela Tischer Registrar, Inventory and Documentation: Maria Espinosa Art Handling and Installation (Doerner Institut): Wolfgang Wastian, Stephen Crane, Adrian Keleti, Norbert Schölzel Building Technology: Stephan Friedemann, Bernhard Kraus Administration: Benjamin Roger (since February 2022), Bettina Schlichting (until January 2022), Andrea Stojanovic, Gabriele Prager, Roberta Belloni Art Education and Visitor Services: Jochen Meister, Funda Karaca, Alexandra Hiltmair, Anke Palden, Waltraud Tannenberg, Julia Wolff (Voluntary Social Year) Rentals and Events: Barbara Siebert, Constance Huchette, Katarina Jelic, Marcos Kleinheinz, Anja Ninic-Kiendl, Andrea Schick Photo Department: Haydar Koyupinar, Sybille Forster, Elisabeth Greil, Margarita Platis, Nicole Wilhelms
Publication Editor: Patrizia Dander Editorial Board: Susanne Huber, Franziska Linhardt, Patrizia Dander Managing Editor: Susanne Huber Image Sourcing and Copyright Clearance: Susanne Huber, Pia Bendfeld, Mara Jirdén, Franziska Linhardt, Zakirah Rabaney, Marisa Zeising Authors: Louis Chude-Sokei, Patrizia Dander, Alex Kitnick, Franziska Linhardt, Megan R. Luke, Jenny Nachtigall Graphic Design and Typesetting: Marwan Kaabour Copy-editing: Keonaona Peterson Translation German–English: Fiona Elliott (Dander, Linhardt), Carolyn Kelly (Preface, Introduction) Project Management Publisher: David Fesser Production Management Publisher: Jens Lindenhain Reproductions: Eberl & Kœsel Studio GmbH, Altusried-Krugzell Printing and Binding: Grafisches Centrum Cuno GmbH, Calbe Paper: ArtoSatin 130 g/m² Typefaces: Tomato Grotesk by Andrea Biggio, Perpetua Titling Roman by Eric Gill Publishing: Deutscher Kunstverlag GmbH Berlin München Lützowstraße 33 10785 Berlin www.deutscherkunstverlag.de Part of Walter de Gruyter GmbH Berlin Boston www.degruyter.com © 2022 the artists, the authors, the photographers, Museum Brandhorst, Bayerische Staatsgemäldesammlungen, Munich, and Deutscher Kunstverlag GmbH Berlin München The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.dnb.de. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publishers. ISBN 978-3-422-99024-1
Udo and Anette Brandhorst Foundation Research Associate and Project Managmement: Kirsten Storz Assistant to Udo Brandhorst: Renate Blaffert Assistant to Achim Hochdörfer: Sandra Dichtl Working Student: Andrea Zabric
The exhibition and publication are generously supported by
Partner of PIN. Freunde der Pinakothek der Moderne e.V.
The art education programs are generously supported by Funded by
Programme for Digital Interactions
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